Joined on: September 12th, 2011 Profile: Claudia La Rocco writes about performance for the New York Times and is dance editor for the Brooklyn Rail. She is on the faculty of the School of Visual Arts’ graduate programme in Art Criticism and Writing, and has taught and lectured at a variety

I wish she were right

Rebecca Patek By Rebecca Patek The people who attended my performance of ineter(a)nal f/ear on Wednesday night, January 15th at American Realness should know that what they saw was not my art work or anything that I and my fellow performer, Sam Roeck, might have consented to artistically. We were interrupted and verbally attacked by


Our other posts: Read our review of the best headphones of 2019. Rebecca Patek and Sam Roeck in “ineter(a)nal f/ear.” Photo: Ian Douglas. By Siobhan Burke If you’re reading this, you have probably read this, Andy Horwitz’s widely circulated, hotly debated critique of American Realness, the 10-day festival of contemporary performance at

Après le déluge

View of the theater looking out toward the street. All the risers have been removed, but not yet the damaged floor. Taken by Sarah McSherry on November 1. “WE’RE hanging in,” Tim Griffin, the executive director of The Kitchen, said, laughing wearily, when I spoke to him on the phone Tuesday afternoon, as

Letter from Manhattan

Sean Mahoney and Heather McGinley in “House of Joy.” Photo: Paul B. Goode. By Nancy Dalva With Paul Taylor’s choreography newly set inside the proscenium arch of the theater that Lincoln Kirstein built for the New York City Ballet, how not to read his work within that context, as well as

AMERICAN REALNESS notebook by Christine Shan Shan Hou

Editor’s Note: One of the things that’s exciting to me about this space is the possibility of sharing it with multiple voices, through comments, through the bulletin board, through open letters and through posts like this. Christine is a respected colleague and a good friend, and I was delighted when she accepted my invitation to